Project Description

is a project of Whitfield CoLabs under the artistic direction of Tony Whitfield. Whitfield's Shotgun! collaborators are photographer /media artist Richard Stuart Perkins and rapper/ musician/composer Will Sheridan. Bring this artistic expertise and the histories and experiences as queer African American men, their collaboration will respond to the confluence of events that have brought together issues of race, gender, violence, policing and social justice together as facets of a revived and reconfigured civil rights movement at forefront of American consciousness. This project is built upon the ways in which they find responses in Junior Walker and the All-Star's 1965 R&B hit,Shotgun. Working together, this group of artist will create an installation and a series of public programs that have as their centerpiece a "music video" that references the area in North Philadelphia, where Whitfield spent much of his pre-adolescent years. That area has since been leveled and remains a site of urban poverty and abandonment spurred on by riots that took place in the summer that preceded the release of Shotgun. As a gay child, this is the area where Whitfield recognized his sexuality and came to understand it as factor that would increase his isolation and launch him into an ongoing struggle for full actualization. This project is, in essence, his discussion with a group artists with similar backgrounds about rage and self-actualization. Together, this group of artists will produce an environment borne out of their realities as queer black men, who have matured in the contexts of ongoing debates about race, gender, sexuality, civil rights and liberation movements, while benefitting from affirmative action, education, and degrees of privilege and social mobility --all in the shadow of AIDS and other circumstances that threaten their integrity and survival.

SHOTGUN! is a project of Whitfield CoLabs with fiscal sponsorship provided by Fractured Atlas. To be presented at LaMaMa Galleria, 46 Great Jones Street, Fall 2017 (specific date to be determined).



Shotgun Lyrics


"Shotgun" was written by Dewalt, Autry.
I said, "Shotgun, shoot 'em for he runs now"
Do the jerk, baby
Do the jerk, now
Hey
Put on your red dress
And then you go Downtown
I said buy yourself a shotgun now
We're gonna break it down baby now
We're gonna load it up baby now
And then you shoot him for he runs now
I said, "Shotgun, shoot 'em for he runs now"
Do the jerk, baby
Do the jerk, now
Hey
Shotgun shoot 'em for he runs now
Do the jerk, baby
Do the jerk, now
Hey!
Put on your high heels shoes
I said we're goin' down here listen to 'em play blues
We're gonna dig potatoes
We're gonna pick tomatoes
I said, "Shotgun, shoot 'em for he runs now"
Do the jerk, baby
Do the jerk, now
Hey
I said, it's twine time
I said, it's twine time
I said, it's twine time
Hey, what did I say him?


Songwriters Dewalt, Autry
Published by
Lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group

Project Inspiration







Tuesday, February 16, 2016

Project Background


The circumstances that lead to the deterioration of North Philadelphia

Columbia Avenue Riot

A black and white photograph of a large group of people standing next to a building.
Only a few hours after the initial scuffle at Twenty-Second and Columbia Avenue, hundreds of people crowded the streets, some of whom began looting businesses. (Special Collections Research Center, Temple University Libraries)
On Friday, August 28, 1964, a scuffle with police at the busy intersection of Twenty-Second Street and Columbia Avenue sparked a three-day riot involving hundreds of North Philadelphians hurling bottles and bricks at police and looting stores. With the Columbia Avenue Riot, Philadelphia joined six other cities, including Jersey City, Paterson, and Elizabeth, New Jersey, that erupted in African American protest during July and August 1964. Similar actions in hundreds of other cities followed by 1968. In Philadelphia, as across the country, urban unrest fractured liberal interracial coalitions and gave rise to law-and-order politics.
At 9:20 on that August night in 1964, two Philadelphia police officers ordered a married couple to move their car from the intersection at Twenty-Second and Columbia Avenue (the street later renamed for civil rights leader Cecil B. Moore). The ensuing scuffle touched off a rumor that the police had beaten and possibly killed a pregnant African American woman. Rioting spread through an area of North Philadelphia that the local press and the police establishment since the mid-1950s had designated “the Jungle” for its entrenched poverty and high crime rates. Like other “ghettos,” the area of Poplar, Lehigh, Tenth, and Thirty-Third Streets also was racially segregated; by 1960, it was 69 percent African American.
A black and white photograph of a group of people (mostly younger people) standing next to a vandalized storefront. Pieces of debris are covering the ground of the store.
Hundreds of stores around Columbia Avenue were looted and vandalized during the riots. During the day, debris from these stores covered the sidewalks. (Special Collections Research Center, Temple University Libraries)
The riot reflected longstanding popular anger at the Philadelphia Police Department and growing divisions among African Americans over a recent shift to more confrontational street protests. On the first night, crowds of young men and women ran along Columbia Avenue, smashing the windows and taking the merchandise almost exclusively from white-owned stores. The busy commercial strip in the heart of North Philadelphia was lined with taprooms and small shops, the vast majority owned by Jewish merchants who sold groceries, appliances, and furniture. One group tossed a garbage can through a squad car window. Crowds pulled prisoners out of police wagons. An activist with the National Muslim Improvement Association led chants of  “We want freedom, we want justice!” Directing the crowd’s anger at Cecil B. Moore (1915-79) for failing to deliver promised reforms despite militant mass protests, one local resident declared, “We don’t need Cecil Moore. We can take care of ourselves.” Members of the crowd also turned their anger on more moderate civil rights leaders who, like Moore, tried to restore calm.

1,800 Police Converge

By the second and third nights, police presence swelled to 1,800 officers. Commissioner Howard Leary (1912-94) instructed police to use minimal force. On Saturday, Mayor James H. J. Tate (1910-83) imposed a curfew in the riot area. By Monday morning, the Columbia Avenue Riot was over. Hundreds had been arrested and injured, and two died. Seven hundred twenty-six buildings had been affected. Property damage and police overtime pay totaled $3.2 million.
A black and white photograph of a man with blood on his face and hands by his head surrounded by two police officers holding batons.
Philadelphia police were ordered not to unholster their guns or use excessive force during the riots, but some rioters were injured while police subdued them. (Special Collections Research Center, Temple University Libraries)
In the next few years, the civil rights movement embraced racial militancy and distanced itself from former white allies. Protests increasingly confronted a police force, led by then-Deputy Commissioner Frank J. Rizzo (1920-91), which proudly embraced racial partisanship. After the uprising, theFraternal Order of Police escalated its campaign against the civilian-led Police Advisory Board. The Police Department countered the rise of Black Power with a siege mentality that treated black protest as a threat to the city. By 1969, the Police Advisory Board was gone. Three years later, Rizzo was mayor.
Many local businesses never recovered from the August 1964 uprising. Although the flight of white residents and industrial jobs played a greater role in long-term neighborhood decline, the Columbia Avenue Riot accelerated these trends and contributed to the sense already possessed by Rizzo and many white Philadelphians that “the Jungle” was a violent place to be contained by force. Still, the unrest generated key momentum for local activists that arguably culminated in the election of the city’s first African American mayor, Wilson Goode (b. 1938), in 1983.
Alex Elkins is a Ph.D. Candidate at Temple University, writing a dissertation on the 1960s riots and “get-tough” policing. His article, “‘At Once Judge, Jury, and Executioner’: Rioting and Policing in Philadelphia, 1838-1964,” appears in the Spring 2014 issue of the Bulletin of the German Historical Institute.

Copyright 2014, Rutgers University 

Related Reading

“Background of Northern Negro Riots,” New York Times, September 27, 1964.
Berson, Lenora. Case Study of a Riot: The Philadelphia Story. New York: Institute of Human Relations Press, 1966.
Countryman, Matthew J. Up South: Civil Rights and Black Power in Philadelphia. Philadelphia: University of Pennsylvania Press, 2006.
Flamm, Michael. Law and Order: Street Crime, Civil Unrest, and the Crisis of Liberalism in the 1960s. New York: Columbia University Press, 2005.
Johnson, Karl Ellis. “Black Philadelphia in Transition: The African American Struggle on the Homefront During World War II and the Cold War Period, 1941-1963.” Ph.D. diss., Temple University, 2001. ProQuest (AAT 304729908).
Paolantonio, S. A. Frank Rizzo: The Last Big Man in Big City America. 10th ed. Philadelphia: Camino Books, 2003.
“Riots – Phila. – Misc. – 1964 – September – December,” George D. McDowell Philadelphia Evening Bulletin Newsclipping Collection, Special Collections Research Center, Temple University, Philadelphia, Pennsylvania.

Collections

Columbia Avenue Riot Documents, George D. McDowell Philadelphia Evening Bulletin Collection, Special Collections Research Center of Temple University Libraries, Samuel L. Paley Library,  1210 Polett Walk, Philadelphia.

Places to Visit

Cecil B. Moore (previously Columbia) Avenue, Philadelphia. 















The current state of the area of North Phialdelphia where Tony Whitfield grew up.
























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